As Eurovision 2025 fades into memory and we enter the familiar haze of Post Eurovision Depression, what better way to fill the void than by revisiting a classic contest from the archives? This time, we’ve landed on 1973 – a year before ABBA’s legendary win, and a fascinating snapshot of Eurovision in its early modern era.
Now, let’s be clear: we can’t judge a show from 1973 by today’s television production standards. The technology, staging, and expectations were entirely different. But at the same time, we can’t pretend we don’t know what came after. With over 50 years of Eurovision evolution behind us, it’s only natural to view the past through the lens of the present.
So, this review is a blend of nostalgia and hindsight—a celebration of what was, with a wink to what we know now.
The acts
Finland – Marion Rung – “Tom Tom Tom” (6th place, 93 pts)
A perfect opener: upbeat, cheerful, and full of energy. Marion’s performance was enhanced by a great sound mix that even picked up her clapping—kudos to the tech team!
Belgium – Nicole and Hugo – “Baby Baby” (17th place, 58 pts)
A visual feast! Purple costumes, silver afro wigs, and a male backing singer who might as well have been miming. The song was fun, but the staging stole the show.
Portugal – Fernando Tordo – “Tourada” (10th place, 80 pts)
A rhythmically intriguing entry with a strolling beat and ambiguous structure. Chorus? Verses? Who knows—but it was fun and a bit odd.
Germany – Gitte – “Junger Tag” (8th place, 85 pts)
Blonde Snow White vibes and a melancholic schlager chanson. The backing singers huddled around one mic—an odd but recurring theme this year.
Norway – Bendik Singers – “It’s Just a Game” (7th place, 89 pts)
A jazzy quartet with clever mic-sharing choreography and multilingual lyrics. No real chorus, but plenty of charm and vocal interplay.
Monaco – Marie – “Un train qui part” (8th place, 85 pts)
The first big French chanson of the night. The arrangement felt off, but the visuals—Marie in a suit, hippie-dressed backing singers—were memorable.
Spain – Mocedades – “Eres tú” (2nd place, 125 pts)
An all-time Eurovision classic. Beautiful harmonies, a haunting melody, and a performance that still resonates. No surprise it nearly won. I feel like I know the melody from somewhere, but it is very possible that this is the original later songs copied in melody, harmonic progression and style.
Switzerland – Patrick Juvet – “Je vais me marier, Marie” (12th place, 79 pts)
A soft French chanson that lacked energy. Five backing singers, two mics, and the male voices were barely audible.
Yugoslavia – Zdravko Čolić – “Gori vatra” (15th place, 65 pts)
A legend today, a novice then. Despite a shouty mix and no backing vocals, the red suit and charisma made this iconic in ex-Yu memory. It might have finished almost last, but in all ex-Yu countries, this is still a huge hit.
Italy – Massimo Ranieri – “Chi sarà con te” (13th place, 74 pts)
A textbook Italian canzone, impeccably sung. You either love it or you don’t—and the audience clearly did.
Luxembourg – Anne-Marie David – “Tu te reconnaîtras” (1st place, 129 pts)
A powerhouse performance from the host country. Anne-Marie’s dramatic delivery and resemblance to a young Maja Nikolić (for Balkan fans) made this unforgettable. A deserved winner. No wonder we still love this entry even today.
Sweden – The Nova – “You’re Summer” (5th place, 94 pts)
Country-pop from Sweden? Yes, please! Dreamy harmonies, summery vibes, and one of the rare female conductors of the night. Was this the birthplace for Avicii’s country house later on? One can only speculate…
Netherlands – Ben Cramer – “De oude muzikant” (14th place, 69 pts)
A carnival-style chanson that didn’t quite land. Technically solid, but lacking energy. The live fade-out ending was… odd.
Ireland – Maxi – “Do I Dream” (10th place, 80 pts)
A sweet 70s pop tune, but Maxi’s distant expression and flat vocal delivery made it hard to connect. Still, nice stage movement.
United Kingdom – Cliff Richard – “Power to All Our Friends” (3rd place, 123 pts)
A polished, modern-feeling performance. Great harmonies, a near-acapella intro, and Cliff’s signature stage presence. Sound mix perfection.
France – Martine Clémenceau – “Sans toi” (15th place, 65 pts)
A dreamy chanson with emotional swells and a strong vocal blend. Classic France, beautifully executed. Still, somehow it didn’t connect with the juries.
Israel – Ilanit – “Ey Sham” (4th place, 97 pts)
A stunning debut for Israel. Ilanit’s confident vocals, emotional range, and elegant look made this a standout closer.
Interval Act
Clown in Drag (Yes, Really)
After the final performance, the audience was treated to one of the most bewildering interval acts in Eurovision history. A clown in drag, styled as an opera diva, took center stage—visibly displeased with the rose handed to them by a piano player. What followed was a silent-film-style pantomime filled with exaggerated gestures, strange vocalizations, and a moment where the clown pinched one of their fake breasts, triggering a trumpet sound effect.
If Bianca Del Rio were watching, she’d probably quip that “clown in drag” is an oxymoron—and honestly, she’d have a point.
The act culminated in a mock opera aria that could only be described as Florence Foster Jenkins meets slapstick cabaret. The live audience responded with near-total silence, unsure whether to laugh, applaud, or quietly reevaluate their evening. If this aired today, it would be trending on social media within minutes—for all the wrong reasons.
Results
Jury System: No Zeros, No Rankings, Almost Total Freedom
The voting system in 1973 was as fascinating as it was unconventional. Each participating country appointed two jury members—one aged between 16 and 25, and the other between 26 and 55, with at least a 10-year age gap between them. These jurors were present on-site and scored each song (except their own country’s) immediately after it was performed.
But here’s where it gets interesting: instead of ranking the songs or distributing a fixed number of points, each juror gave every song a score from 1 to 5. That meant a juror could, in theory, give every song 1 point, or every song 5 points, or anything in between. There was no requirement to differentiate between entries—just a personal, subjective rating for each song individually.
This system had two major effects:
- No country could receive zero points—a comforting thought for any artist fearing the dreaded “nul points.”
- It introduced a level of unpredictability and inconsistency that modern viewers might find baffling. Watching the show today, you might question whether some jurors were really under 25—or if there was truly a decade between the two from each country.
It was a system that gave jurors total freedom, but also left room for bias, mood swings, or even protest scoring. And yet, it’s part of what made Eurovision 1973 so uniquely charming.
Final Thoughts
Eurovision 1973 was a fascinating blend of simplicity, experimentation, and charm. From mic-sharing quirks to genre-hopping entries, it’s a reminder of how far the contest has come—and how much of its heart has stayed the same.
Looking at the Top 5, it was a remarkably close race at the top:
- Luxembourg – Anne-Marie David – “Tu te reconnaîtras” – 129 points
- Spain – Mocedades – “Eres tú” – 125 points
- United Kingdom – Cliff Richard – “Power to All Our Friends” – 123 points
- Israel – Ilanit – “Ey Sham” – 97 points
- Sweden – The Nova – “You’re Summer” – 94 points
The gap between 1st and 3rd place was just 6 points, showing how competitive the top tier was. Luxembourg’s win was well-earned, but Spain and the UK were right on its heels. Meanwhile, Israel and Sweden weren’t far behind either, separated by only 3 points, making for a very tight and exciting upper leaderboard.
Rewatching the contest today, it’s impossible not to notice how much has changed—from production values to voting systems—but also how much Eurovision has always been about bold choices, big voices, and unforgettable moments.
Next up, we’re heading into 1974 – a year that changed Eurovision forever. Yes, ABBA will be singing about Waterloo (because nothing says pop anthem like a Napoleonic defeat), and Yugoslavia will counter with a song about World War II, called Generation of ’42, which somehow also manages to mention a milk shortage. Eurovision: where history, heartbreak, and dairy crises collide.
Stay tuned!
Guest Author: Miljan Tanić
